Theatre Quotes
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Theatre people, who are an adaptive species, know that to remain sane in the process of production where everyone and his uncle has an opinion about how to fix a show, you must pick the people whose knowledge and taste you trust and stick only to these few. The Tweetocracy is no place to look.
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I feel so sorry for younger actors who aren't able to have the opportunities that I had, starting out in repertory theatre. It's really tough on young actors now.
Antony Sher
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I did half a year of theatre.
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I was five when I did my first show with the Mountain Play Theatre company in Marin County. I started young, and since no one in my family was involved in the industry in any way shape or form, I think everyone thought I'd do a few plays and that would be it. But then I kept doing it.
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I'd been doing the Chicago theatre thing for years. The money was kinda good - thanks to a push by my old pal Capone, who, let's say, persuaded theatre owners to book me.
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I've done music as a hobby, either in musical theater or just jamming with friends, pretty much for as long as I can remember.
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It was progressively more difficult to find work in the theatre, as well.
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Something about theatre perhaps scared me.
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I almost never go to the theatre without seeing someone I've taught or known at Juilliard.
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When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.
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Brecht always liked people to be aware that they were in a theatre. I said to him more than once, but Brecht, what makes you think they think they're anywhere else?
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'Black Watch' has taken its place in the canon of Scottish theatre, and that's fantastic. It's a very particular kind of theatre. It's about the music, the movement, the whole 'event' of it.
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I can't do theatre in the US,' she says, 'because I don't have a green card.
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I temporarily became a surgeon for 'Memory of Love'. I spent two weeks in an operating theatre, watching amputations, and I loved it.
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'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
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I'd been gearing up to working in theatre since coming out of drama school, but it was an exciting time for TV drama - it was the birth of Channel 4, and Brookside was very cutting-edge at the time.
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The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: 'Tobacco Road', 'Abie's Irish Rose' and our old friend 'Spider-Man', which got the worst reviews in theatre history and is still apparently going strong.
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The creation of the UCB Theatre is by far my proudest professional accomplishment.
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All of a sudden Kevin told me that the movie got bought and was gonna be shown in a movie theatre. I was shocked. I was psyched. It was just weird.
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I knew very early what I wanted to do, and I considered myself lucky to know that's what I wanted, even in a place like Saint Lucia where there was no publishing house and no theatre.
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I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.
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After I did television, I just felt I didn't have any more to give to the medium. And so I went back to the theatre and started directing and producing, and found I enjoyed it as much, if not more, than acting.
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I saw 'Clueless' five times in the theatre when I was growing up.
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Whether it was working on theatre sets or stage lighting, I didn't realize most all of the skills I was exposed to were going to come in handy later on when I became a designer.
